It is very much the fashion for young pianists to record multi-movement suites by a single composer and intersperse pieces by other composers. As it happens, musicality and intelligence govern George Xiaoyuan Fu’s programming agenda, resulting in a genuinely interesting rather than gimmicky playlist.

Ravel’s plaintive ‘Oiseaux tristes’, for example, assiduously slips into the third of Dutilleux’s piano preludes. The following piece, Freya Waley-Cohen’s Bad Habit, contains aphoristic high-register chords that mirror those of Ravel’s ‘Noctuelles’. Likewise, the fragmentary yet sweeping gestures in Timo Andres’s Clear and Cold set the stage for the longer arpeggiated paragraphs of ‘Une barque sur l’océan’, while the pointillistic repeated notes throughout Unsuk Chin’s Toccata presage the right hand’s celebrated rapid repeated notes in ‘Alborada del gracioso’.

The main motifs of ‘Alborada’ somehow relate to the slower, gentler themes of Tailleferre’s Pastorale, which actually functions as a bridge into Ravel’s sparsely evocative ‘La vallée des cloches’. The latter’s shimmering mood continues with more melodic immediacy in the closing Rachmaninov G major Prelude, Op 32 No 5.

Fu seems most interpretatively and emotionally at home in the Dutilleux, Waley-Cohen, Andres and Chin pieces. There are more sensual and supple renditions of Miroirs’ odd-numbered movements and the Rachmaninov Prelude to be had, while the icy runs of ‘Alborada’ are more steel clicking than heel-clicking. Still, Fu’s precise fingerwork cannot be faulted, and his gift for programme-building deserves serious attention.